by Valerian, first Lord Carabas, who having spent the greater part of
his life as the representative of his monarch at the Ducal Court of
Venice, at length returned to his native country; and in the creation of
Chateau Desir endeavoured to find some consolation for the loss of his
beautiful villa on the banks of the Adige.

Over the gateway there rose a turreted tower, the small square window of
which, notwithstanding its stout stanchions, illumined the muniment room
of the House of Carabas. In the spandrils of the gateway and in many
other parts of the building might be seen the arms of the family; while
the tall twisted stacks of chimneys, which appeared to spring from all
parts of the roof, were carved and built in such curious and quaint
devices that they were rather an ornament than an excrescence. When you
entered the quadrangle, you found one side solely occupied by the old
hall, the huge carved rafters of whose oak roof rested on corbels of the
family supporters against the walls. These walls were of stone, but
covered half-way from the ground with a panelling of curiously-carved
oak; whence were suspended, in massy frames, the family portraits,
painted by Dutch and Italian artists. Near the dais, or upper part of
the hall, there projected an oriel window, which, as you beheld, you
scarcely knew what most to admire, the radiancy of its painted panes or
the fantastic richness of Gothic ornament, which was profusely lavished
in every part of its masonry. Here too the Gothic pendent and the Gothic
fan-work were intermingled with the Italian arabesques, which, at the
time of the building of the Chateau, had been recently introduced into
England by Hans Holbein and John of Padua.

How wild and fanciful are those ancient arabesques! Here at Chateau
Desir, in the panelling of the old hall, might you see fantastic
scrolls, separated by bodies ending in termini, and whose heads